Dorothy Stites Alig

These paintings explore entropy, the law of nature that can be defined as the increasing lack of order or predictability. I call the series Lost Terrain, and I consider it relevant in these days of political, economic and social uncertainty speeded up by technology. Huge shifts require tremendous adaptability but also some awareness and critical thinking about the implications of such radical change. The combination of awareness with flexibility is analogous to my art making process. I begin with a fairly concrete idea and a spontaneous gesture on the paper. Then I respond to the marks I have made again and again until the thing is resolved. I try to remain open to new possibilities as I allow a transformation of the original idea into something completely new and unexpected. One of the greatest challenges in art (and in life) is to manage the gap between expectations and outcomes. Sometimes that means not fighting against entropy but going with it, allowing it to reveal some hidden potential.

Amie Campbell

I am an abstract painter inspired by the natural environment. I walk outside my studio to absorb southern Indiana’s splendor and express it in my works. I develop a palate and use color in a conversation with the canvas.

Layering evokes the play of light off plants and objects. Brushwork also conveys a sense of movement and suggests the sounds of nature as well as the harmonies and dissonant tones in music.

Painting more than two works at a time creates a narrative for the ensemble, but I complete each one to stand on its own, with surface gestures defining a sub-plot for each work.

Awakening Spring

Acrylic on Canvas

Diptych

12 x 12, 12 x 16 inches

November

Acrylic on Canvas

24 x 36 inches

Garden

Acrylic on Canvas

Triptych

40 x 16, 40 x 30, 40 x 16 inches

Break of Day

Acrylic on Canvas

Triptych: (24 x 18) inches x 3

Part of the Story of Spring

Acrylic on Canvas

Triptych: 30 x 16, 30 x 40, 30 x 16 inches

Rhapsody

Acrylic on Canvas

Diptych: 30 x 48, 30 x 15 inches

Greenery

Acrylic on Canvas

36 x 48 inches

Reflection

Acrylic on Canvas

Diptych

36 x 36, 36 x 36 inches

Woods in Spring

Acrylic on Canvas

Triptych

16 x 40, 30 x 40, 16 x 40 inches

Anne Marie

Acrylic on Canvas

36 x 48 inches

SOLD

June

Acrylic on Canvas

24 x 24 inches

SOLD

Among the Trees

Diptych

Acrylic on Canvas

48 x 36 x 2

SOLD

Entropy

Acrylic on Canvas

Triptych

36x12, 36x36, 36x12

SOLD

Tuesday

Acrylic on Canvas

Triptych

40 x 16, 40 x 30, 40 x 16 inches

SOLD

Greg Chann

“I’ve been making things for literally as long as I can remember. I realize most kids today have craft projects in kindergarten and throughout grade school. However, my passion for art continued and blossomed in high school and on through college (BA, University of Louisville) and graduate school (MFA, Yale University). I started making furniture and lighting out of necessity for my own home and needs.”

On my Lamps:

“My main study in school was sculpture, thus my lamps became sort of utilitarian sculpture. I always admired the rice paper lamps of the artist Isamu Noguchi. I like to think I picked up where he left off. Whereas his lamps play on symmetry, mine, being asymmetrical, allow every viewing perspective to be unique.

On my Fresco Panels:

Although I would not consider these works ‘process derived’, I would like to describe briefly the process of making them because it is such an integral part of my interpretations and discovery. Essentially they are cast panels of Hydrostone gypsum plaster. First, magery is made by pouring powdered graphite and other dry pigments diluted in alcohol onto Mylar vellum. Once the alcohol has evaporated, I cut the vellum and reconfigure into patterns. These patterns are inspired by early Chinese lattice designs, many of which I saw from childhood.

Barrier walls are place around a square composition. I then pour the wet plaster on top of it to a depth of 1/2''. Once the plaster is set, I separate the panel from the vellum and a final impression has captured pigments similar to that of fresco painting.”

Untitled Rice Paper Lamp I

30 x 18 inches

Untitled Rice Paper Lamp II

21 x 16 inches

Untitled Rice Paper Lamp III

25 x 18 inches

Untitled Rice Paper Lamp IV

21 x 21 inches

Untitled Rice Paper Lamp V

26 x 18 inches

Trail

17 x 17 inches

21 inches square framed

Carrera

Ink on Vellum

17.5 x 18 inches

21 inches square framed

Untitled I

Fresco panel + ink on vellum in gypsum concrete

22 x 22 inches

Untitled II

Fresco panel + ink on vellum in gypsum concrete

22 x 22 inches

Untitled

Ink drawing on vellum

21 x 21 inches

SOLD

Janet Kaufman Cordovi

"Attending Arizona State University, Tempe, majoring in Art, I was influenced by the geometric designs of the Native Americans.

These pots are made with stone and porcelain clays, using a plaster bat for the base. They are built from the bottom up, with a profile template to keep the shape using small pinches of clay joined one at a time, waiting for the correct hardness before adding another layer.

When dry, the pots are bisque-fired in an outdoor catenary arch brick kiln to a temperature around 1,600 F, hardened enough to receive the glaze. After glazing using formulas I prepare in my studio, the pots are then fired again to temperatures reaching up to 2,500 F.

I always work to music."

Purple and Blue Bowl

Stoneware with high gloss glaze

9.5 x 15.5 inches

Light Blue Inlaid Bowl

Porcelain with high gloss glaze

9.5 x 16.5 inches

Tall Cylinder

White Clay with High Gloss Glaze

19 x 7 inches

SOLD

White Round Vase

White Clay with Matte Glaze

14 x 12 inches

Mottled Blue Bowl

Stoneware with Matte Glaze

9 x 16 inches

Tall Blue Vase

White clay with high gloss glaze

16 inches high x 6 inch diameter

Bulbous Blue Vase

Stoneware with Matte Glaze

SOLD

Round Blue and Green Vase

White Clay with High Gloss Glaze

Tall Inlaid Sand Vase with Purple Accent

Stoneware and White Clay

Small Dishes

Stoneware with Various Glazes

Tall White Vase

Stoneware with High Gloss Glaze

Turquoise Bowl

Stoneware with Matte Glaze

9.5 x 15.5 inches

White Bowl with Purple Accent

Stoneware with High Gloss Glaze

9.5 x 15.5 inches

White Bowl with Red Accents

Stoneware with High Gloss Glaze

9.5 x 15.5 inches

SOLD

White and Purple Bowl

Stoneware with high gloss glaze

9 x 15 inches

SOLD

White Bowl

Stoneware

9.5 x 15.5 inches

SOLD

Blue Inlaid Bowl

9 x 16 inches

SOLD

Small Vase with Feet

White clay with high gloss glaze

8 1/2 inches tall by 3 1/2 inch diameter

SOLD

Bowl, Goblet and Dish

Stoneware with White Glossy Glaze

SOLD

Julie Cowan

I have two interests: portraiture and architecture.

I investigate the idea of place and how spaces make us feel either embraced or alienated. Using architectural themes, I select photographic imagery and then digitally alter the photos to create greater contrasts and stronger line. Often I will layer various photographic elements to create new spaces.

With portraiture, I begin with large close-up photographic imagery of people I know and strangers. The photographs, as well as the printmaking technique, reveal imperfection. The delicate nature of the paper printing plates helps to create images that reflect and capture the individual.

My paper lithography technique has layers of printmaking and drawing applications so that each piece is a monoprint. First, I shoot the photographic image. Then, once digitally altered, I print the image using a paper transfer process with oil-based ink. I then layer the work using a monotype process to create unique works as detail on the prints are hand-colored with pencil or watercolor.

The beauty of imperfection is reflected in an expressive face or an architectural space that is unfinished or distorted, and in the irregularities of a printed work relate these subjects. This imperfection creates an empathy for where we are and who we are uniting us together in grace.

Aspirations of Sugimoto

Paper Lithograph with colored pencil

30 x 22 inches

Beauty in Symmetry

Paper Lithograph with Pastel

30 x 22 inches

Certain Slant of Light

Paper Lithograph with Pastel and Gold Leaf

30 x 66 inches

Church of Capital and Drink

Paper Lithograph with Colored Pencil

Cross to Safety

Paper Lithograph

30 x 22 inches

Fear No More

Paper Lithograph

30 x 22 inches

Heated Conversation

Paper Lithograph

30 x 22 inches

Ruby Red Lips

Paper Lithograph

60 x 44 inches

Scene from Above

Paper Lithograph

30 x 66 inches

Madonna on the Train

Paper Lithograph

30 x 22 inches

Well-Built Clothing

Paper Lithograph

44 x 60 inches

Nature Prevails

Paper Lithograph with Colored Pencil

30 x 44 inches

2010

Paper Lithograph with Pastel, Pencil

11 x 15 inches

The Landscape Listens

Paper Lithograph

22 x 30 inches

Overhead in Private

Paper Lithograph with Colored Pencil

30 x 22 inches

Dreaming of My Past

Paper Lithograph

30 x 22 inches with Colored Pencil

San Miguel

Paper Lithograph

30 x 22 inches

Soho

Lithography with pencil and watercolor

11 x 15 inches

Outdoor Life in Paris

Lithography with Watercolor

22 x 15 inches

Paris Bench III

Lithography with pastel and colored pencil

Mackintosh Stairs

Lithography with pencil and watercolor

15 x 11 inches

Looking at the Museum

Lithography with Pencil and Watercolor

15 x 11 inches

Art Opening

Paper Lithograph with Pastel, Pencil

11 x 15 inches

SOLD

Paris Corner

Paper Lithograph with Pastel, Pencil

15 x 11 inches

SOLD

Taking Space in Luxembourg

Paper Lithograph with Pastel

22 x 30 inches

SOLD

Paris View

Paper Lithograph with colored pencil

22 x 30 inches

SOLD

Scene in the Park

Paper Lithograph with Colored Pencil

15 x 11 inches

SOLD

Paris Steps

Paper Lithograph

10 x 7 inches

SOLD

Villa in the City

Lithography with watercolor

11 x 15 inches

SOLD

Jane Aigler D'Angelo

“I am an impressionist landscape artist and it is always light and its effects, subtle or dramatic, that inspire me. Each of my paintings represents a moment in time when light influences colors, values and shapes in a captivating way. Typically, there is a strong architectural element in my work, due in part to my studies years ago in architectural rendering. The Chicago urban landscape, subject of much of my recent work, provides endless opportunities to incorporate my interest in architecture, infused with the energy of the city. Ultimately, my goal is to create paintings that look realistic and at the same time, effortless and painterly, and my hope is that I can transport admirers to a time and place they will enjoy.”

Out in the Country

Oil on Canvas

36 x 36 inches

Summer Evening

Oil on Canvas

30 x 40 inches

Abandoned

Oil on Canvas

30 x 40 inches

Last Light

Oil on Canvas

30 x 30 inches

Bartlett Bow

Oil on Canvas

7 x 7 inches

Blue and Oranges

Oil on Canvas

7 x 9 inches

Rosy Reds

Oil on Canvas

7 x 7 inches

Blue Bottle

Oil on Canvas

7 x 7 inches

Michigan and Oak, 2016

Oil on canvas

30 x 40 inches, framed

Afternoon Shadows

Oil on Canvas

28 x 22 inches

Skyline Glitter

Oil on Canvas

36 x 48 inches

View from the Zoo

Oil on Canvas

24 x 36 inches

SOLD

Rush and Cedar, 2016

Oil on canvas

18 x 24 inches, framed

SOLD

Night Lights, 2016

Oil on canvas

28 x 22 inches, framed

SOLD

Art Guards

Oil on Canvas

16 x 20

SOLD

Afternoon Shadows

Oil on Canvas

30 x 30 inches

SOLD

Yellow Field

Oil on Canvas

36 x 36 inches

SOLD

Debra Delbecq

I live and paint within the landscape of my Indiana farm.

My ongoing themes continue to be threaded by the changing seasons and weather patterns I observe while painting. For me it is like a conversation about the weather and all the hopeful growth wishes a neighborly farming conversation may contain. I recreate these memories, often giving the viewer an aerial spiritual perspective of my garden and fields.

My sense of sound is also mapped through the proximity of shapes and color palette choices layered harmoniously throughout the paintings. Nature makes its own line drawings in the soil’s surface for me to observe and to incorporate into my work. The fog is my favorite, however; so silent with no lines at all.

I really aspire to be an agrarian painter, passionate about the collision of colors from the land interacting on my canvas in front of me. My creative process is truly intertwined with my own sustainability–while gathering my food I’m storing information for the content of my work. I hope to preserve in paint much for all to imagine for themselves.

Drying Blowing Cornstalks

Acrylic on Canvas

36 x 48 inches

Hidden Lake

Acrylic on Canvas

42 x 54 inches

Disappearing

Acrylic on Canvas

48 x 36 inches

Just Before Harvest

Acrylic on Canvas

48 x 60 inches

Mare's Tail Clouds

Acrylic on Canvas

34 x 54 inches

Fence Row

Acrylic on Canvas

28 x 48 inches

Garden Tendrils

Acrylic on Canvas

48 x 60 inches

Howling Winds

Acrylic on Canvas

16 x 20 inches

Meadow Dance

Acrylic on Canvas

48 x 60 inches

Growing Blowing

Acrylic on Canvas

34 x 54 inches

Standing in the Corn Field, 2011

Acrylic on canvas

60 x 48 inches

Harp Strings

Acrylic on canvas

60 x 48 inches

SOLD

Lisa Goesling

Magnifying glass in hand, I capture nuances in nature that simply don’t exist with the naked eye. After studying my subject, I jump right in, spontaneously drawing fine lines with an X-ACTO knife into boards made of clay and India ink.

My series, Environmental Movement, is heavily influenced by Eco-Psychology, the study of emotional connections between humans and the natural world. My art produces the same feelings of wonder, harmony and timelessness that we experience when connecting with nature.

I invite you to spend time with my art, digging ever deeper until you become completely lost in the details.

Evolution of an Iris

Black Scratchboard with Colored Inks and Pencils

23 x 19 inches

Orchid Part One and Two

Black Scratchboard

34 x 14 inches

Finished Draft

Black Scratchboard

36 x 45 inches framed

Swept Away

Black Scratchboard

9 x 25 inches framed

Close to the Sun

Black Scratchboard

12 x 12 inches

SOLD

Foxtail Lily

Black Scratchboard

12 x 12 inches framed

SOLD

Dustin Harris

The show Reinspired is a combination of two eras of my work, one collaborative from the early 2000's (with Paul Amitai) and one current. While the two bodies of work explore different color palettes, techniques and inspiration, their similarities were united in a reawakening for me with their looseness in paint application, desire to set a visual language, and consistency in letting specific elements take the main focus while other areas sit as background.

During the sessions for the current work I became reinspired, understanding the evolution of my curiosity and love for combining places of movement and stillness, while simultaneously responding with color and line work to support the abstraction. Certain dualities would come to mind; “city interaction vs. suburban lifestyle,” “graf-street art influence vs. museum formalization,” “loud, busy weekends vs. quiet, focused weekdays.” All elements a part of my experience, joined with an excitement for painting abstractly

Splat 4.2

Acrylic, Spray Paint, Paper, and Marker on Canvas

36 x 56 inches

Splat 4.1

Acrylic, Spray Paint, Paper, and Marker on Canvas

26 x 52 inches

Splat 4.4 and 4.5

Acrylic, Spray Paint, Paper, and Marker on Canvas

52 x 16 inches each

Splat 4.3

Acrylic, Spray Paint, Paper, and Marker on Canvas

27 x 54 inches

Hope on the Horizon

Acrylic, Spray Paint, Paper and Marker on Canvas

9 x 12 inches

Centered

Acrylic, Spray Paint, Paper, and Marker on Canvas

20 x 24 inches

Hover Discovery

Acrylic, Spray Paint, Paper, and Marker on Canvas

6 x 34 inches

Shhh The Gods are Speaking

Acrylic, Spray Paint, Paper, and Marker on Canvas

33 x 28 inches

Contorted Warp

Acrylic, Spray Paint, Paper, and Marker on Canvas

10 x 20 inches

SOLD

Susan Jacoby

Nature provides us with a place to catch our breath. I want my paintings to provide that respite.

The art is inspired by specific sites - be it a large panoramic vista or a closer examination of natural patterns. Rather than a realistic depiction of a place, they are remembrances that combine observation and imagination. So that focus is not diverted and to achieve timelessness, they are void of any human elements.

Working in many translucent layers of muted colors helps me to achieve a quiet quality. The soft-focus quality of the work is used to enhance the delicate haziness and add to the sense of serene, untouched nature. I strive to capture the mood rather than the details by focusing on any atmospheric conditions or elements that deflect or mask the light, blur the details, and leave you wondering what's beyond.

Descending

Oil on Canvas

48 x 24 inches

Golden Glow

Oil on Canvas

36 x 36 inches

Grey and Gold

Oil on Canvas

36 x 36 inches

Twilight

Oil on Canvas

36 x 48 inches

Bluff Overlook

Oil on Canvas

12 x 24 inches

Sky Sweep

Oil on Canvas

36 x 48 inches

Bluff Overlook II

Oil on Canvas

36 x 48 inches

From the Ferry

Oil and Cold Wax on Canvas

18 x 36 inches

Santanoni

Oil on Canvas

36 x 48 inches

SOLD

Carolina Coast

Oil on Canvas

24 x 48 inches

SOLD

Port Oneida

Oil on Canvas

36 x 48 inches

SOLD

Tall Trees

Oil on Canvas

36 x 18 inches

SOLD

Morning Mist II

Oil on Canvas

14 x 18 inches

SOLD

Buried Treasure

Oil on Canvas

36 x 48 inches

SOLD

Quad Sky

Oil on Canvas

12 x 12 inches x 4

SOLD

Tom James

““At the Edge of the Forest” is a series of oil on canvas paintings I have been working on for the last eight years.

These paintings are based on photographs I have taken, throughout the seasons, along the Skokie Lagoon area of Chicago’s North Shore. This is where I grew up, and I have spent the past 20 years riding these bike paths and taking it all in. Earlier in my painting career, I focused on the industrial landscape of Chicago and its surrounding area. Eight years ago, I shifted to follow my muses and influences, and began to engage in the landscapes surrounding Chicago.

This is the work that I feel connects with the painters who have influenced me over the years with regard to the landscape - The group of Seven, Rockwell Kent, the great Russian painters of the late 19th century, John Atkinson Grimshaw, George Innis. This is my my meditative side.”

Trees with a Summer Moon

Oil on Canvas

40 x 30 inches

Trees With a Summer Sky and Moon

Oil on canvas

20 x 16 inches

Winter Trees

Oil on Canvas

16 x 20 inches

Trees with a Twilight Moving Through

Oil on canvas

20 x 16 inches

Trees After The Sun Has Been Blown Away

Oil on canvas

20 x 16 inches

Joe Kraft

Joseph Kraft received his BFA from New York State College of Ceramics at Alfred University in 2012. He currently lives in Chicago where he creates monoprints, drawings, ceramics, and sculpture. Joe has a great interest in architecture and is especially influenced by the Brutalist architecture prevalent in some of Chicago’s best- known buildings. His color palette of late is inspired by the colors of Southern France where he recently spent 7 months.

Joe has developed his unique monoprinting process which begins with cutting newsprint into the shapes of his composition. Once he feels that his composition is right, he cuts his final shapes out of tracing paper which he lays flat and tapes onto glass. He then transfers the inked shapes onto paper, using tweezers. Next, he burnishes the tracing paper to transfer the ink, then peels away the tracing paper, thus creating the unevenness and texture of his final print. Joe hand-builds a rhombus frame for each print, since he enjoys the sculptural aspect of the rhombus frame.

London Drawing 1

Chalk and Oil Pastel

16 x 13 inches

Drawing 1

Chalk Pastel on Paper

23 x 19 inches

Weighted Space

Monoprint

Drawing 2

Chalk Pastel on Paper

23 x 19 inches

SOLD

Jungle Gym

Monotype, Pencil

17 x 24 inches

SOLD

Darren Oberto

“I make art to process the outside world, to make sense of our surroundings, to make comparisons, and to circumscribe aspects of society.

Construction, deconstruction and reconstruction are the motivations for this kinetic process-based project. Each piece develops from a solitary line into a seductive layering of marks. Images emerge from the paper similarly to a piece of ceramic being thrown or wood being turned on a lathe. The introduction of chemicals and ink manipulation create an interplay between randomness and order, organic and plastic. Connections to the natural world - micro/macro and terrestrial/celestial - are apparent. There are strong allusions to geometry. My desire is for the audience to find a place of meditation and inspiration within these works.”

Turntable I, 2016

Ink on frosted mylar

36 x 36 inches, framed

Turntable Drawing 16-37

Ink on frosted mylar

36 x 36 inches, framed

SOLD

Turntable Drawing 15-34

Ink on frosted mylar

36 x 36 inches, framed

Turntable Drawing 15-13

Ink on frosted mylar

36 x 36 inches, framed

Turntable Drawing 16-45

Ink on frosted mylar

36 x 36 inches, framed

Turntable VII

Ink on frosted mylar

12 x 12 inches, framed

Turntable Drawing VIII, 2016

Ink on frosted mylar

12 x 12 inches, framed

Turntable Quartet, 2016

Ink on frosted mylar

24 x 24 inches, framed

Iceberg I

Digital C-Print on Photo Paper

16 x 16 inches, round frame

Ronald Parent

My latest series of paintings represent my exploration of abstracting the landscape and shoreline. Colors are blended in such a way that hard edge lines disappear leaving subtle variations from one color to another. This approach leaves much to the viewer’s imagination and interpretation.

The medium of pastel, my preference, allows me to explore the textures and colors of the landscape during the different seasons of the year and times of the day. Pastels blend in a unique way due to the nature of the chalk-like medium and lend themselves to vibrant, soft, and subtle color variations and textures.

Palazzo

Oil on Canvas

30 x 40

Pier

Oil on Canvas

24 x 30 inches

SOLD

Winter Chill

Pastel on Board

19.5 x 25 inches

Distant Glow

Pastel on Board

19.5 x 25 inches

Tropical Heat

Oil on Canvas

30 x 40 inches

Separation

Pastel on Paper

24 x 18 inches

Purple Rain

Oil on Canvas

24 x 30 inches

Low Tide

Oil on Canvas

36 x 24 inches

SOLD

Snowmelt

Pastel on Board

23.5 x 36 inches

SOLD

Wind and Wave

Pastel on Board

18 x 24 inches

SOLD

Swift Currents

Oil on Canvas

12 x 9 inches

SOLD

Angela Saxon

Painting for me is the immersion in image-making in an attempt to communicate something for which words won’t do. What I see and am compelled to capture and share in my own visual language. As in the way that a writer uses poetry to make words be more than just words.

The act of painting: brushes full of paint describing light, feeling their way around the arc of a shoreline, inadvertently dragging bright green through pale blue. Expressive marks that both describe and negate the subject matter. Abstracted shapes that are reminiscent of known forms but that have a purpose in the painting other than merely describing that known form.

I have always painted. I was certain of being an artist as I grew up. Yet painting has always been a battle. I work directly, confidently, diligently and take risks in my work. But a sense of confidence is always elusive. I’m never on solid ground for long.

On one side of this battle is certainty of purpose and clarity of vision. On the other side is doubt and insecurity. My paintings are made in the space between the two. Consequently the paintings continue to evolve. I work in series, painting my way through an idea until finding resolution and then making my way forward to a new series as the outcome of this process.

Quartet

Acrylic on Canvas

24 X 20 inches

Take Pause

Acrylic on Canvas

36 X 48 inches

Happily Lost in the Forest

Acrylic on Canvas

36 X 36 inches

An Evening Garden

Acrylic on Canvas

30 X 24 inches

Cinnamon Ferns

Acrylic on Canvas

20 X 30 inches

Bloom

Acrylic on Canvas

36 X 46 inches

Matt Schaefer

Matthew remembers being an artist from the first; he felt there was never a choice for him. His parents were committed to the arts as a worthy application of their son’s energy and intense enthusiasm. Matthew’s art took precedence over the usual venues of life in the 1950’s. He attended Silverman College of Art in New Canaan, Connecticut where he studied the rudiments of art history, drawing, painting and design.

He has painted prolifically throughout the years, while his work developed from a darker beginning to the highly colored Fauvist expressionist style. More recently, his paintings have become more abstracted and graffiti-like, and have developed into the more minimal style of his work today.

7yh9

Oil on Canvas

32 x 32 inches

CtS

Oil on Canvas

32 x 44 inches

L47

Oil on Canvas

48 x 66 inches

10c49

Oil on Canvas

32 x 44 inches

n;bh

Oil on Canvas

48 x 66 inches

9k7

Oil on Canvas

32 x 32 inches

Athena in Repose

Charcoal on Paper

26 x 33 inches framed

Flowers on Table

Oil on Paper

24 x 18 inches

Flowers

Oil on Paper

24 x 18 inches

7tyug

Oil on Canvas

48 x 66 inches

Seated Woman

Oil on canvas

32 x 26 inches

SOLD

Face

Oil on Canvas

11 1/2 x 9 inches

SOLD

Minimal

Oil on Canvas

48 x 66 inches

SOLD

Allison Svoboda

Organic patterns and forms found in nature have an instinctive draw. The theory of fractal geometry; infinite layers of self-similar shapes repeated in every living thing, hold an endless fascination for me. Plants, feathers, skeletons; this enormous energy in nature influences my work.

The same way a plant grows following the path of least resistance, the quick gestures and simplicity of working with ink allows the law of least resistance to prevail as the ink finds its path across the paper. Ink gives a more spontaneous experience as I allow the ink to move where it flows naturally.

With this process, I work intuitively through thousands of brushstrokes creating hundreds of small paintings. I then collate the work, tearing out images that work together. When I find compositions that intrigue me, I then delve into the longer process of collage, taking the time to digest the image. The patterns or lines of the work often have multiple inferences. The flow of a tree reaching to the sun has the same movement as a river reaching toward the ocean. Water droplets bind together and become fluid just as arctic ice builds up and melts apart.

The dichotomy in our natural world of destruction and growth, light and dark, fear and wonder is very important to my work.

Refraction #4

Watercolor on Paper

60 x 48 inches

Refraction #5

Watercolor on Paper

66 x 48 inches

Refraction #5

Watercolor on Paper

60 x 48 inches

Untitled

Watercolor on Paper

48 x 60 inches

Breathe #1

Watercolor on Paper

22 x 30 inches

Toffia Refraction

Watercolor on Paper

22 x 30 inches

Hydrangea Mandala #2

Ink and Watercolor on Paper

31 x 31 inches

Cowwar Mandals

Ink and Watercolor on Paper

45 x 45 inches

Untitled

Watercolor on Paper

22 x 30 inches

Untitled

Watercolor on Paper

22 x 30 inches

Untitled

Watercolor on Paper

22 x 30 inches

Untitled

Watercolor on Paper

22 x 30 inches

Untitled

Watercolor on Paper

22 x 30 inches

Crevasse

Watercolor on Paper

60 x 48 inches

SOLD

Mountain

Watercolor on Paper

60 x 48 inches

SOLD

Kyla Toomey

“I find remarkable importance in objects. This significance manifests in my life as a need to have, move, and, most importantly, make objects. I love to shift all of the furniture in a room in an effort to recombine a constant set of objects -- to fundamentally change what is inherently the same. In the studio, I am grounded in processes and formal investigation of functional forms with a very simple set of tools. These constraints provide me with defined space to consider and control. Altering the vessel, dividing it in layers, manipulating the form by combining horizontal and vertical lines, hard against soft, wet with dry, and pushing and pulling to capture a sense of expansion and contraction within a singular object. Playing among these opposing forces and allowing them to reside together within an object integrates the visual and the tactile, activating surfaces that have a complex physicality, which then asks to be seen and felt. This appeals to my fascination with human interaction with materials and the systems we integrate with them to serve ourselves visually, physically and functionally.”

Materials & process: Porcelain, fired to Cone 6, oxidation

Dishwasher and microwave safe

Bowls, Canister, Vase & Mug

Porcelain

Canisters & Vases

Porcelain

Janet Trierweiler

Two Step

Janet Trierweiler

Oil on Canvas

32 x 24 inches

Gretchen

Oil on Canvas

32 x 32 inches

Poetic Anatomy

Oil on Canvas

32 x 32 inches

Blue Note

Oil on Canvas

18 x 18 inches

Late August

Oil on Canvas

32 x 38 inches

Munich

Oil on Canvas

32 x 44 inches

9 AM

Oil on Canvas

20 x 20 inches

Close to Home

Oil on Canvas

32 x 44 inches

SOLD

Promises

Janet Trierweiler

Oil on Canvas

40 x 40 inches

SOLD

Dora Winchester

I create jewelry in gold and sterling that is inspired by ancient jewelry and beautiful stones. I fabricate all of my pieces myself, created by forming, forging, and soldering, finished with steel wool. All of my pieces are 18 karat solid gold.

My interest in art began at a young age, but it wasn’t until college that I discovered the art of goldsmithing. I found that my talents and sensibilities were well suited for this artform. I earned my undergraduate degree as an art major at University of Wisconsin, Madison, where I was privileged to study under Eleanor Moty and Fred Fenster. Dora Winchester Handcrafted Jewelry opened for business in 1991.

A sampling of Dora's work is shown here. There is more available at the gallery.

18k Gold and Diamond Earrings

18k gold and labradorite earrings

18 k and sapphire ring

18K and aquamarine pendant and chain

14k and freshwater pearl necklace

Adjustable 14 - 16 inches

18K and yellow sapphire pendant and chain

18k, sapphire and diamond pendant

From left:

18K gold embossed earrings

18k, citrine and aquamarine pendant

18k and yellow sapphire pendant

18k and turquoise ring

18k and sugilite ring

SOLD

SOLD

Pink Sapphire and Diamond pendant

SOLD

Chrysoprase Ring

SOLD

Brigitte Wolf

My first and most enduring inspiration for my work comes from a treasured drawing created by my mother.

I was born into a large German family and later immigrated to the U.S.A., eventually settling in Chicago.

Although my early training at the Art Institute of Chicago focused on the study of the old masters, my recent work has become more abstract.

I am exhilarated by the challenge of evoking ideas in the viewer. Just a brushstroke on a canvas gives me the freedom to do anything I envision.

Aside from the dimensions of the canvas itself, there are no limits. I enjoy examining the canvas, exploring depth and dimensions to create a piecethat challenges the intellect, invites curiosity, and creates pleasure.

Daydreams

Oil on Canvas

41 x 44 inches

Grid

Acrylic on Canvas

45 x 34 inches

Autumn Sky

Acrylic on Canvas

20 x 20 inches

SOLD

The Evening Slowly Bends Over the Land

Acrylic on Canvas

46 x 50 inches

Tropical Heat

Acrylic on Canvas

20 x 20 inches

Rejoice

Acrylic on Canvas

44 x 44 inches

The Flowers I Love Belong to the Wind

Acrylic on Canvas

20 x 20 inches

Eternal

Oil on Canvas

48 x 30 inches

Marianne Burr - Special Exhibitor

"Textiles are an ancient form of human expression. Research shows that embroidery evolved from tribal tattoos. Modern textiles have wide practical use but the international world of quilting has expanded from the functional to include the expressive category called Art Quilts, the finest of which are exhibited in art museums around the world.

Following ancient traditions of hand work, I have created textile art with silks, cottons, and multiple threads. While my design creation is gestural with paint and paper, execution of these art quilts is studied and precise. Hand stitches and a variety of hand dyed and painted fabrics produce texture that creates a variety of impressions as the light and angle of observation change."

Marianne's art quilts have been exhibited and enjoyed on six continents. They have received multiple awards and have been featured in many publications both at home and abroad in Asia, Europe, Brazil, and Australia.

Cosmic Connection

Silk, Cotton, and Thread

51 x 50 inches

13th Quilt Nihon Exhibition 2016-2017

BRONZE AWARD

Spin Out

Silk, Cotton, and Thread

53 x 53 inches

Quilt National 2009

Reflection Protection

Silk, Cotton, and Thread

50 x 30.5 inches

21st European Patchwork Meeting 2015-2016

Eleven 3 Eleven

Silk, Cotton, and Thread

43 x 32 inches

Quilt Visions 2014: The Sky's the Limit

Thomas Contemporary Quilt Recognition Award

Art Quilt Elements 2016

At the Market

Silk, Cotton, and Thread

63 x 50 inches

9th Quilt Nihon Exhibition, 2008

Hiroko Kon Award

All Fired Up

Silk, Cotton, and Thread

50 x 30 inches

Cosmic Communication

Silk, Cotton, and Thread

50 x 30 inches

Le Carrefour Europèen du Patchwork 2014

PRIX APLIQUICK (CORPORATE AWARD)

2016 Quilts=Art=Quilts

Berry Trifle

Silk, Cotton, and Thread

36 x 25 inches

Guavas

Silk, Cotton, and Thread

12 x 12 inches

Berries

Silk, Cotton, and Thread

12 x 12 inches

Minifiori II

Silk, Cotton and Thread

14 x 14 inches

Minifiori III

Silk, Cotton and Thread

14 x 14 inches

Larry Simon - February Local Artist

My eye is attracted to the small details often overlooked in our hurried travels—and the scenes I discover offer a juxtaposition to the more traditional idea of a still life which usually depicts only inanimate objects.

I often work with a blend of soft and sharp focus because it creates a narrative surrounded by a sense of the unknown that resides in the subconscious--a place where we cannot fill in all the blanks.

I am also fascinated by the nature of surfaces such as glass and building surfaces—and the impressionistic or abstract scenes they offer when photographed.

I use a rangefinder camera with either a 50 or 90 mm lens, and manual focus. There is no digital post-manipulation short of what would be done in a darkroom setting with regard to contrast and color saturation.

It would be easier to produce sharp images, to be sure. But making photographs in this way is far more satisfying for me—and I believe more exciting for the viewer. The images invite deeper concentration, a more active imagination, and heightened curiosity while offering a sense of calm in an increasingly noisy world.

In the stillness, there is always something new to discover.

Sleepers Awake

Giclée Print

31 x 25 inches

Passing Alexander Calder

Giclée Print

27 x 41 inches

In a Station of the Metro/2

Giclée Print

27 x 39 inches

In a Station of the Metro/1

Giclée Print

32 x 33 inches

Where Twisting Roads Lead: Green Valley

Giclée Print

19 x 25 inches

Where Twisting Roads Lead: Errand Day

Giclée Print

19 x 25 inches

A Pink Umbrella

Giclée Print

38 x 60 inches

Figure

Giclée Print

24 x 31 inches

Where Twisting Roads Lead: Change

Giclée Print

19 x 25 inches

When the World Had Two Skies

Giclée Print

31 x 24 inches

Openings: The View Beyond

Photo collage

15 x 20 inches

Recurring Waiter (Quartet)

Giclée Prints

19 x 13 inches

Recurring Waiter (Grid)

Giclée Prints

22 x 17 inches

Openings: Where East Meets West

Photo collage

15 x 20 inches

Homeward Bound

Giclée Print

15 x 36 inches

Behind This Door

Photo collage

15 x 20 inches

Where Twisting Roads Lead: Road Work Ahead

Giclée Print

19 x 25 inches

Openings: Dream of Japan

Giclée Print

15 x 20 inches

Warren Kaplan - March Local Artist

Having expressed my art through song for many years as a singer, I endeavor to share my struggles and successes with color and movement on canvas. I've been painting for most of my adult life, but have always kept my art private - for my eyes only . Out of the dark, into the light of day...

Influenced by such greats as Franz Kline and Robert Motherwell, my style has evolved, (and continues to evolve), into my own. Abstract art, for me, is an expression of your heart, soul and subconscious. True art comes from within. When I surrender myself to paint and canvas, the desire to create is fully realized. I find the process to be wonderfully exhilarating. My hope is that my audience will be moved and inspired by my expression. Thank you for allowing me to share the gleaming light of heart and spirit.